1. Character Design for Animation and Games
Week 4a: Head Design, Head Sculpting, and Texturing a 3D Model

2. FACES: Variation is Key
Work from big to small, general to specific: Start with very different overall forms, then create variations in the smaller details.
Art by Aaron Diaz

3. EXERCISE 1: Face Variations
Choose one of the 2 Face Shape templates, open in Photoshop, and draw expressions in each head form inspired by the provided examples. Try to get a lot of variation in feature placement and proportions.

4. CLAY: Head Sculpting KEY CONCEPTS:
Start with a wire and tinfoil core, build thin layers of clay for even- baking.
To add details, build strips of clay and smooth-in at least one edge, rather than cutting-in.
Pay attention to anatomy, even if you intend a cartoon character design.

5. EXERCISE 2: Head Sculpting
Following the steps in the provided tutorial, sculpt one of the heads you drew in Exercise 1.
Fold & roll your sheet of tinfoil into a teardrop shape.
Roll 2 balls of clay and spread them on each side of the tinfoil core to build the base form.
Apply smaller balls and strips of clay for the head back and brow. Insert a toothpick at the base for support, and build a neck around it.
Add smaller features: Apply a thin strip for the nose, Dig holes and add balls for the eyes, strips for the eyelids, cheekbones, neck muscles, ears, etc. Use the tools to smooth the outer edges.
Add hair: roll very thin or flat shapes and apply, smoothing one side into the head.

6. Painting Textures on 3D Models
3D models are “Textured” by creating a 2D version of the entire surface (called “UVs”) and exporting this 2D image to Photoshop to be painted. In Maya, the UVs for a selected object can be seen in the Windows/UV Editor.

7. Painting Textures on 3D Models
Painted detail can get extremely elaborate: Paint the textures on your models with as much detail as you would want in a 2D painting!

8. Painting Textures on 3D Models
Just like in a 2D painting, make contrasting colors and area of detail in your textures to call more attention to some areas and less to others.

9. Painting Textures on 3D Models
Multiple texture maps allow the artist to control not just the surface colors, but also Specular maps for materiality reflection, Bump/Normal maps to fake additional fine detail, and Opacity maps to cut holes in tattered cloth, etc. without adding geometry.

10. EXERCISE 3: Paint a 3D Texture
Practice Painting a 3D Texture: Open the unwrapped character file, select in Object Mode, open the Windows/UV Editor to see the prepared UVs. Note the UVs are symmetrical: half the body is “underneath” the other side, so any painting colors both sides. In the “Polygons” menu choose “UV Snapshot”, set size X & Y = 2048, set image format = JPEG, and set Browse location for file saving. Hit [OK].
Open the file in Photoshop, doubleclick layer to name “UVs.” Hit [Cmd]+[i] to invert to dark lines on white, and set Blending Mode to Multiply. Create 2 layers below named “BaseColors” (bottom) & “Details” (in between). Use the Rectangle Marquee Tool to quickly lay down BaseColors for skin, pants, shirt, etc. Export as PNG.
In Maya Windows/Rendering Editor/Hypershade, create a new Blinn, hit Color square to add a File node, load the PNG. Mid-Mouse drag the Blinn onto the character. Hit [6] to view. Paint more details and update in Maya!

11. EXERCISE 4a: Unwrap an Object
1. PREPARATION:
Add a Checker Map:
Windows/ Rendering Editors/ Hypershade to add a Checker map to the Color channel, so you can see where the Uvs are clean (squares) and where they are stretched.
VIDEO TUTORIAL:

12. EXERCISE 4b: Unwrap an Object
2. UNWRAPPING: Select polygons in a Cylindrical or Planar arrangement, and apply the correct UV Map. Hit the red T to transform the gizmo for better projection, so the checkers are square and even.
VIDEO TUTORIAL:

13. EXERCISE 4c: Unwrap an Object
3. ARRANGE Uvs: Windows/UV EDITOR (The 2D interface for texture layout)
Hit [w] for Move Tool, then RightClickHold for selection modes. Use “UVs” instead of Vertices to transform. To select an entire piece, select one UV and then [Ctrl]+ rightClick to choose “To Shell”.
To break off a polygon area, select the edges on the border you wish to split, hold [Shift]+rightclick and choose “Cut UVs”. To stitch together, select edges, hold [Shift]+ rightclick and choose “Move and Sew UVs”.
FINAL UNWRAP: To prepare for best painting results: (a) Reduce Seams, (b) Group by Color, (c) Prioritize, and (d) Optimize

14. Homework #7: Orthographic Diagrams
Prepare to model an original 3D character in Maya by choosing a single bipedal character you have designed so far and creating orthographic diagrams. See Lincoln example!
These diagrams must:
Be in T-pose (arms out, palms down, fingers spread, legs spread to at least shoulder width, body and head straight up and symmetrical).
Include Front, Side (arm-less), Arm (top) and Back Views
Be consistently Proportional (features and joints should line up: top of head, eyes, nose tip, mouth, chin, shoulders, elbows, belt knees, ankles).
Be highly Detailed (include clothing wrinkles, breaks, and folds, straps, buckles, hair, etc)
Next class we will sculpt our characters in clay and Maya. Feel free to get started on the clay head!
Post to hw7 folder in Piazza by noon Thursday: piazza.com/class/ippn0kwpb904xh

15. Post-Class Viewing: 3D Animated Shorts
Two excellent 3D films featuring stylized characters.
The Single Life
Job, Joris, & Marieke
Johnny Express
By Kyungmin Woo